MASTERS  IN  ART 

ERIES     OF  ILLUSTRATED 
NOGRAPHS:    ISSUED  MONTHLY 


JULY,  1901  VOLUME  2 


CONTENTS 


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T  (1898),  De  la  &ir»r;,nn? 

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Page  40 


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Burne-Jones  was  frail  of  physique  ;  his  countenance  is  described  as  being  delight- 
fully gentle,  humorous,  and  calm  ;  his  manner  of  speaking  as  quiet  and  simple  ;  and 
his  voice  as  unusually  melodious. 


MASTERS   IN  ART 


BORN   18S3:  DIED  18  9  8 

ENGLISH  SCHOOL  ^ 

QUARTERLY   REVIEW  VOLUME   188  (1898) 

EDWARD  BURNE-JONES  was  born  in  a  small  house  in  one  of  the 
back  streets  of  Birmingham,  England,  on  August  28,  1833.  His  mother 
died  at  his  birth,  and  his  only  sister  in  early  infancy.  His  father,  a  small 
tradesman  who  made  picture-frames  and  sold  stationery,  was  of  Welsh  de- 
scent. A  man  of  deep  and  simple  piety,  but  strict  and  rigid  in  his  ideas,  he 
tabooed  story-books  and  poetry,  and  for  many  years  only  allowed  his  son 
to  read  'Sandford  and  Merton,'  'Evenings  at  Home,'  and  7?Lsop's  'Fa- 
bles,' which  last  was  the  boy's  favorite  because  of  the  prints  that  it  con- 
tained. No  one  ever  more  literally  hungered  and  thirsted  after  beauty  than 
did  the  lonely  child  in  his  dreary  home  in  the  grimy  streets  of  Birmingham. 
Often  he  would  stand  for  hours  before  the  booksellers'  shops,  longing  to 
read  the  books  which  he  saw  in  the  windows,  and  envying  the  lucky  shop- 
men who  stood  behind  the  counter.  Until  he  was  twenty-three  he  never 
saw  a  good  picture.  Fortunately,  his  father  had  a  strong  wish  to  see  his  son 
a  clergyman  of  the  Church  of  England,  and  with  this  intention  sent  him,  when 
eleven  years  old,  to  King  Edward's  School  as  a  day-scholar.  There  he  read 
the  Greek  and  Latin  poets  with  delight,  but  made  few  friends,  and  found 
his  chief  pleasure  in  books. 

At  the  age  of  nineteen  the  youth  won  an  exhibition  at  Exeter  College 
and  went  up  to  Oxford.  There,  on  the  first  day  of  the  term,  he  met  another 
young  freshman  of  Welsh  birth,  William  Morris,  and  the  face  of  things 
suddenly  changed.  The  same  dreams  and  aspirations,  the  same  deep-rooted 
sense  of  the  ugliness  and  monotony  of  the  present,  the  same  common  love 
of  the  past,  drew  the  two  young  undergraduates  together  and  laid  the  foun- 
dations of  a  life-long  friendship.  Together  they  read  Ruskin's  '  Modern  Paint- 
ers;' together  they  pondered  over  that  other  book  which  was  destined  to 
have  an  even  greater  influence  upon  their  future,  SirThomas  Malory's  'Morte 
d'Arthur.'  And  then  Burne-Jones  saw  Dante  Gabriel  Rossetti's  little  wood- 
cut of  the  'Maids  of  Elfinmere'  and  the  water-color  of  'Dante  drawing 
Beatrice's  Picture,'  and  a  new  dream  sprang  up  in  his  breast.    Here  was 


22 


0ia0tet  ^  in  ^rt 


a  man  who  did  all  that  he  himself  longed  to  do,  and  was  actually  living  in 
the  present  time.  From  that  moment  Burne-Jones  determined  to  be  a  painter. 

In  the  Christmas  vacation  of  1855  he  went  to  London,  and  at  the 
Working  Men's  College  met  Rossetti,  who  quickly  recognized  the  rare 
imaginative  gifts  of  the  untaught  lad,  and  urged  him  to  leave  Oxford  without 
delay,  and  devote  himself  to  the  serious  study  of  art.  Accordingly,  Burne- 
Jones  left  Oxford  without  taking  his  degree,  and  early  in  1856  settled  in 
London,  to  learn  drawing  and  to  profit  by  his  new  friend's  advice.  He  applied 
himself  with  undaunted  courage  and  resolution  to  master  the  technical  side  of 
his  art,  and  began,  somewhat  late  in  life,  to  learn  the  rudiments  of  drawing. 

During  the  summer  of  1856  Morris  followed  his  friend  to  London,  and 
settled  with  Burne-Jones  in  lodgings  in  Red  Lion  Square,  where  he  devoted 
himself  to  painting  and  poetry.  Both  lived  in  daily  companionship  with 
Rossetti,  who  warmly  expressed  his  admiration  of  Morris's  poetry  and  of 
Burne-Jones's  designs,  which  last  he  declared  to  be  equal  to  Albrecht  Diirer's 
finest  work.  Burne-Jones,  on  his  part,  always  retained  the  most  passionate 
admiration  for  Rossetti;  and  to  the  end  of  his  life  was  never  tired  of  recall- 
ing his  friend's  boundless  generosity  and  the  extraordinary  force  of  his  per- 
sonality. 

Meanwhile  Rossetti  exerted  himself  to  procure  remunerative  work  for  the 
struggling  young  artist.  Ruskin,  who  was  from  the  first  profoundly  impressed 
with  Burne-Jones's  genius,  bought  some  of  his  early  drawings  and  gave  him 
further  orders,  hi  1857  he  designed  his  first  stained-glass  windows  for  the 
chapel  of  Bradfield  College,  and  during  the  long  vacation  accompanied  Ros- 
setti on  his  memorable  expedition  to  Oxford,  where  the  latter  had  agreed  to 
decorate  the  hall  of  the  Oxford  Union  with  tempera  paintings.  Morris  under- 
took to  paint  the  roof,  while  Rossetti,  Burne-Jones,  and  four  other  artists  were 
to  adorn  the  walls,  with  subjects  from  Malory's  'Morte  d' Arthur.'  Unfortu- 
nately, however,  these  enthusiastic  young  painters  were  ignorant  of  the  sim- 
plest methods  of  mural  painting.  Before  the  work  was  finished  the  surface 
began  to  peel  off  in  flakes,  and  at  the  present  time  has  almost  entirely  dis- 
appeared. 

In  the  autumn  of  1859  Burne-Jones  made  his  first  journey  to  Italy,  and 
visited  Florence,  Pisa,  Siena,  and  other  cities;  and  in  1862  he  paid  a  second 
visit  to  that  country  with  Mr.  Ruskin  as  a  guide,  and  visited  Milan  and 
Venice,  where  he  was  the  first  to  discover  the  beauties  of  Carpaccio's  'St. 
Ursula'  and  the  shrine  of 'St.  George  of  the  Slaves.'  With  these  memories 
fresh  in  his  mind,  he  painted  the  now  famous  little  picture  of 'Christ  and 
the  Merciful  Knight,'  which  stamped  its  author  at  once  as  a  master  of 
original  genius,  whose  style  was  entirely  distinct  from  that  of  Rossetti,  as 
well  as  absolutely  unlike  that  of  any  contemporary  artist.  During  the  next 
five  years,  a  succession  of  lovely  drawings  from  his  hand,  all  remarkable  for 
the  same  tender  poetry  and  rich  coloring,  were  exhibited  in  the  Pall  Mall 
Gallery.  But  in  1870  some  members  of  the  society  chose  to  take  exception 
to  a  drawing  of  'Phyllis  and  Demophoon,'  a  legend  of  the  blossoming  of  the 
almond-tree,  which  Burne-Jones  had  sent  to  the  annual  exhibition,  and  there- 


23 


upon  the  painter  immediately  withdrew  the  picture  and  resigned  his  asso- 
ciateship. 

From  that  time  Burne-Jones  ceased  to  exhibit,  and  during  the  following 
seven  years  his  work  appeared  only  once  in  a  London  picture-gallery ;  and  with 
this  single  exception,  the  painter's  works  at  this  period  were  seen  only  by  a 
few  intimate  friends  and  art-lovers.  Thus  it  was  that  when  the  Grosvenor 
Gallery  was  opened  in  1877  the  exhibition  of  his  pictures  there  came  as  a 
surprise.  There  were  still  plenty  of  critics  who  assailed  Burne-Jones's  works 
with  scorn  and  ridicule;  some  authorities  saw  grave  symptoms  of  decadence 
in  his  art,  others  took  objection  to  the  subjects  represented,  and  the  scoffers 
were  ready  to  join  in  Punch's  witticisms  of  "Burn  Jones!"  and  "Here  be 
lunacies!"  but  all  those  who  had  watched  the  artist's  career  and  admired 
the  promise  of  his  early  years  rejoiced  to  see  how  completely  he  had  over- 
come the  difficulties  in  his  way,  while  the  most  hostile  critics  were  compelled 
to  own  him  to  be  a  painter  of  rare  distinction  and  originality. 

But  pictures  in  oil  or  water-color  formed  only  a  small  part  of  Burne- 
Jones's  work.  His  unrivalled  gift  for  decorative  design  and  his  inexhaust- 
ible imagination  found  expression  in  countless  forms.  Early  in  his  career  he 
had  begun  to  design  stained-glass  windows,  and  the  remarkable  success  that 
attended  his  efforts  in  this  direction  was  one  of  the  causes  which  led  to  the 
foundation  of  the  celebrated  firm  of  Morris  and  Co.,  under  the  management 
of  William  Morris  (the  "  poet-upholsterer,"  as  he  has  been  called).  Of  this 
firm  Burne-Jones  was  for  many  years  a  partner,  and  he  always  remained 
closely  associated  with  Morris's  different  undertakings.  To  the  joint  efforts 
of  the  two  men  the  complete  revolution  which  has  taken  place  in  decorative 
art  during  the  last  thirty  years  is  to  be  ascribed.  Burne-Jones's  inventive 
brain  and  unwearying  hand  found  time  to  supply  Morris's  workmen  not  only 
with  cartoons  for  stained  glass,  but  with  designs  for  tapestry  and  needlework, 
for  tiles  and  bas-reliefs.  He  himself  worked  both  in  gesso  and  metal,  and 
painted  panels  for  chests,  cabinets,  and  pianos.  Mosaic  decoration  was 
another  branch  of  art  to  which  he  turned  his  attention  in  his  later  years  ; 
and  yet  another  form  in  which  he  produced  much  excellent  work  was 
the  illustration  of  books.  Besides  enriching  many  of  Morris's  volumes  of 
prose  and  poetry  with  woodcuts  and  ornamental  designs,  he  executed  four 
complete  sets  of  drawings  which  deserve  to  rank  among  his  finest  works. 
The  most  celebrated  of  these  is  the  'Kelmscott  Chaucer,'  for  which  he 
prepared  eighty  designs.  .  .  . 

1  he  history  of  a  great  painter  is  written  in  his  works,  and  not  in  the  out- 
ward events  of  his  career.  In  the  case  of  Burne-Jones,  there  is  little  to  tell. 
In  1860,  before  he  was  twenty-seven,  he  married  Miss  Georgiana  Mac- 
donald;  and  seven  years  afterwards  settled  at  "The  Grange"  in  Fulham, 
a  house  formerly  belonging  to  the  novelist  Richardson,  and  at  that  time 
standing  in  green  fields.  It  is  now  the  centre  of  a  busy  and  populous  dis- 
trict, but  still  the  trees  grow  tall  round  the  old  red-brick  house,  and  roses 
and  lilies  bloom  in  front  of  the  studio  that  has  become  the  object  of  so  many 
pilgrimages. 


24 


^  a  ^  1 1 1  ^   in  3lrt 


Here,  in  this  pleasant  spot,  the  great  painter  welcomed  the  friends  who 
were  attracted  by  the  singular  fascination  of  his  personality.  As  Mr.  Watts 
has  said  with  perfect  truth:  "His  extraordinary  sweetness  and  amiability 
caused  him  to  be  not  merely  liked,  but  deeply  loved,  by  all  those  who  were 
intimate  with  him." 

Burne-Jones  lived  long  enough  to  come  into  his  own;  and  little  as  he 
himself  cared  for  wealth  or  fame,  all  his  friends  rejoiced  when  the  long- 
delayed  recognition  came  and  his  genius  met  with  its  deserved  reward.  In 
1881  he  received  an  honorary  degree  at  Oxford  and  an  honorary  Fellowship 
at  his  old  college;  the  next  year  he  was  asked  to  represent  England  at  the 
International  Exhibition  in  Paris.  In  1890  he  received  the  decoration  of 
the  Legion  of  Honor,  and  two  years  later  was  elected  a  Corresponding 
Member  of  the  Academic  des  Beaux-Arts,  and  was  invited  to  execute  a  work 
for  the  Luxembourg.  In  1888  the  Old  Water-Color  Society  re-elected  him 
as  a  member;  and  although  he  had  never  sent  any  of  his  pictures  to  Bur- 
lington House,  he  was  chosen  an  associate  of  the  Royal  Academy  in  1883. 
He  acknowledged  the  compliment  by  sending  his  oil-painting,  'The  Depths 
of  the  Sea '  to  the  yearly  exhibition.  The  work  was  greatly  and  deservedly 
admired,  and  much  surprise  was  felt  that  its  painter  was  never  advanced 
to  the  full  honor  of  Royal  Academician.  But  when,  in  1894,  the  Queen 
conferred  a  baronetcy  upon  Burne-Jones  the  reproach  of  having  as  a  nation 
failed  to  appreciate  one  of  its  most  distinguished  men  was  in  some  measure 
removed. 

Physically,  Burne-Jones  was  never  a  strong  man,  and  soon  after  his  mar- 
riage a  dangerous  illness  brought  him  to  the  brink  of  death.  In  1892  he 
was  again  seriously  ill.  Repeated  fits  of  influenza  weakened  him,  but  still 
he  worked  on  with  increasing  ardor,  and  always  refused  to  take  a  holiday. 
He  was  actually  at  work  on  his  great  picture  of 'The  Sleep  of  King  Arthur 
in  Avalon'  until  a  few  hours  before  his  death;  and  when  the  fatal  attack 
came  he  had  no  strength  to  resist  the  shock.   He  died  on  June  17,  1898. 


Ci)e  art  of  3Surne==fones 

"T  MEAN  by  a  picture,  a  beautiful,  romantic  dream  of  something  that 
JL  never  was,  never  will  be,  in  a  light  better  than  any  light  that  ever  shone, 
in  a  land  no  one  can  define  or  remember, — only  desire." — from  a  letter 

WRITTEN  BY  BURNE-JONES  TO  A  FRIEND. 

GEORGE   B.    ROSE  'CONTEMPORARY   BRITISH  PAINTING' 

BURNE-JONES,  perhaps  the  most  perfect  of  English  painters,  was 
Rossetti's  pupil;  but  great  as  was  his  debt  to  Rossetti,  his  indebtedness 
to  Mantegna  and  to  Botticelli,  particularly  the  latter,  was  even  greater.  All 
the  subtle  grace,  all  the  morbid  delicacy  and  haunting  charm  of  the  Floren- 


25 


tine,  reappear  in  his  worlcs,  with  the  same  mediaeval  types  often  applied  to 
similar  classical  subjects.  His  art  is  not  strong,  it  is  not  healthy,  it  is  not 
robust;  but  it  has  a  charm  that  no  man  can  forget.  His  tall,  slender  figures, 
with  their  hollow  cheeks,  high  cheek-bones,  noses  inclining  to  turn  up,  large 
mouths  and  projecting  chins,  are  not  beautiful  according  to  the  Grecian 
standard.  They  are  strange,  delicate,  sensitive  plants  born  in  the  shadow  of 
some  medieval  cloister,  upon  whose  pallid  forms  the  clear  sun  of  Hellas 
has  never  shone;  but  they  have  all  the  intense  spirituality  of  those  sad 
mediaeval  days  when  men's  souls  consumed  their  bodies  with  the  ardor  of 
their  aspirations. 

Rarely  has  a  painter  been  so  thoroughly  an  idealist.  There  are  people 
who  seek  in  a  picture  a  repetition  of  familiar  scenes.  Let  them  avoid  his 
works.  There  are  others  who  seek  in  it  a  refuge  from  our  workaday  world, 
a  land  of  beautiful  dreams  such  as  haunt  the  poet's  slumbers;  and  such  will 
find  in  him  a  joy  that  knows  no  end.  He  will  not  transport  them  to  the 
radiant  shores  of  Hellas;  he  will  not  show  them  Apollo  as  he  strikes  the 
lyre,  or  Venus  rising  from  the  sea;  he  will  conduct  them  to  the  enchanted 
land  where  dwell  the  eaters  of  the  lotus,  where  the  air  is  heavy  with  per- 
fume and  softest  music,  where  the  limbs  are  a  little  weary,  the  eyes  a  little 
heavy,  and  man's  existence  of  toil  and  strife  seems  very  far  away.  Some- 
times he  will  touch  a  landscape,  as  in  the  background  of  'The  Mirror  of 
Venus,'  and  show  himself  the  equal  of  the  greatest;  but  usually  the  soul  of 
man,  quivering  and  palpitating  beneath  its  slight  vesture  of  clay,  is  all  that 
he  cares  to  represent,  all  that  he  seems  to  see.  And,  like  Botticelli,  it  is  not 
the  soul  in  its  storms  and  agonies  that  he  loves,  but  in  that  gentler  melan- 
choly so  sweet  that  he  on  whose  heart  it  has  descended  would  not  exchange 
it  for  rapturous  joy,  a  melancholy  full  of  vague  yearning  and  inarticulate 
desires. 

<  BU  R  NE- JONES  :    HIS   ETHICS   AND   ART'  EDINBURGH    REVIEW:  1899 

THE  pictures  of  Burne-Jones  possess  an  interest  wholly  apart  from  the 
region  of  technical  art  criticism.  Idealistic,  imaginative,  with  the  im- 
agination of  fancy  rather  than  of  thought,  emotional,  and  in  sentiment  delib- 
erately retrograde,  their  popularity  is  one  of  those  incongruous  caprices  of  an 
age  and  nation-  essentially  unidealistic,  unimaginative,  unemotional,  and  as- 
sertively progressive.  They  have  concentrated  the  expression  of  imaginative 
emotion  to  an  extent  which  has  invested  them  with  an  almost  unique  dis- 
tinction—  a  distinction  independent  to  a  certain  degree  of  their  excellence  or 
imperfection  as  works  of  art,  and  one  calculated  to  arouse,  in  more  or  less 
evenly  balanced  proportion,  the  sympathy  or  hostility  of  picture-lovers.  It  is 
imaginative  emotion  emphasized  to  its  extreme  limit  of  which  Burne-Jones 
has  elected  to  make  himself  the  exponent.  Nor  is  this  all;  for,  based  upon 
this  emotional  value,  his  pictures  betray  an  attitude  towards  life  at  large  which, 
in  so  far  as  the  art  of  painting  has  concerned  itself  with  life,  has  never  be- 
fore found  a  more  consistent  interpretation. 


26  ^a^ttt^  in  '^tt 

However  widely  Burne-Jones  has  ranged  in  his  choice  of  subjects,  whether 
it  be  from  Solomon's  Song  or  a  'Laus  Veneris,'  in  each  and  all  alike  we  are 
conscious  of  the  same  strongly  marked  imaginative  atmosphere,  where  emo- 
tion dominates  both  thought  and  action,  and  where  deeds  are  but  the  acces- 
sories of  life.  It  is  in  that  undefinable  gift  by  which  he  has  created  this  at- 
mosphere, by  the  skill  with  which  he  has  applied  the  medium  of  the  painter's 
art  to  communicate  emotional  temperament  to  his  pictures,  that  Burne-Jones 
is,  what  a  French  critic  has  called  him,  "the  greatest  master  among  contem- 
porary English  painters."  Whether  this  emotion  is  evoked  through  the  sense 
of  color, — the  sense  which  perhaps,  after  music,  excites  the  bare  nerves  of  emo- 
tion more  acutely  than  any  other  stimulant, — or  whether  it  is  awakened  by 
form  and  outline,  is  a  matter  of  altogether  minor  importance  to  the  general 
spectator.  What  does  concern  him  is  the  kind  of  emotion  appealed  to,  and 
undoubtedly  called  forth  by  the  things  here  represented,  by  the  manner  of 
their  representation,  by  the  aspect  of  life  they  embody,  and  by  the  nature  of 
the  sympathies  and  affinities  they  call  forth. 

Nowhere  is  the  creed  of  the  optimist  inscribed  by  the  painter's  hand.  Life 
here  may  be  described  as  a  tableau  mourant.  The  very  forms  and  colors  of 
physical  beauty  which  we  pre-eminently  associate  with  his  men  and  women 
convey  a  dim  suggestion  that  the  human  body  is  a  too  fragile  and  pliant  en- 
velopment for  the  hopes  and  fears,  the  impulses  and  desires,  of  its  indwell- 
ing soul.  His  world  is  a  world  where  physical  vitalities  wax  faint  and  the 
laggard  pulses  beat  slowly;  where  a  film  of  lassitude,  the  languor  of  outworn 
fever,  overpowers  the  natural  vigors  and  energies  of  health,  blunts  sensation, 
and  enervates  will;  where  even  passion — lord  paramount  of  life — is  heard 
only  as  a  spent  wave  receding  from  a  sleeping  shore.  It  is  the  lethargy  of 
the  lotus-eater,  a  drowsy  land  of  muted  strings.  Although  the  sun  is  in  its 
heaven,  it  remains  a  twilight  world;  nor  are  we  made  wise  to  know  if  it  be 
a  twilight  that  precedes  a  sunset  or  a  dawn.  Stillness  is  everywhere.  The 
waters  of  pools  margined  with  iris  and  reed,  of  fountain  basins  and  marble- 
rimmed  wells,  beside  which  columbines  grow  tall  with  the  slender  erectness 
of  their  stalks  and  the  bent  grace  of  their  blossoms,  show  images  upon  their 
polished  surfaces  where  the  outline  of  reflection  is  as  unbroken  by  ripple  or 
current  as  the  outline  of  that  which  is  reflected. 

And  over  and  above  this  continual  reiterated  indication  of  stillness  there 
is  more  often  than  not  the  sense  of  an  insistent  silence.  It  pervades,  pene- 
trates, and  oppresses  us;  it  is  the  silence  of  a  world  grown  voiceless.  True, 
we  see  the  singing  girls  of  the  'Laus  Veneris,'  the  girls  with  instruments  of 
music  of 'The  Golden  Stairs,' and  the  organ  notes  of  'Le  Chant  d'Amour; ' 
and  here  and  there  in  some  slow-footed  company  of  lingering  women  two 
or  three  may  turn  their  heads  to  speak.  Yet  for  the  most  part  it  is  not  so; 
or  if  it  chance  that  we  do  indeed  catch  some  echo  of  sound,  it  is  but  of 
hushed  whisperings.  As  it  is  not  the  flowing  currents  of  mountain  rivers  or 
wave-ruffled  seas,  but  the  well  and  water-pool,  smooth  as  shields  of  steel, 
that  it  best  pleases  the  painter  to  portray,  so  it  is  the  suspense  of  speech,  the 
pause  of  music,  the  arrest  of  passing  footsteps,  his  pictures  commonly  de- 


27 


lineate.  In  them  one  might  say  life  is  conceived  as  a  sort  of  listening  to 
silences.  .  .  . 

In  such  regions,  in  this  atmosphere  of  dumbness  and  stillness,  youth  has 
lost  its  gaiety.  His  world  is  a  world  without  gladness.  Most  notably,  in- 
deed, are  the  faces  of  Burne-Jones's  women  impressed  with  an  ineradicable 
and  plaintive  sadness.  For  them  the  causeless  gaiety  of  youth's  prerogative 
has  passed  beyond  the  octave  of  life.  And  though  the  attributes  of  childhood 
linger  with  them,  it  is  with  the  blemished  delicacy  of  those  impoverished  city 
childhoods  with  whose  aspect  the  eyes  that  watch  are  becoming  increasingly 
familiar  :  childhoods  defrauded  of  their  playtime,  tainted  at  the  fountain-head 
with  the  moral  and  physical  unhealth  of  instincts  prematurely  developed, 
which  having,  from  influences  without  or  imaginations  within,  forestalled  the 
emotions  of  later  womanhood,  remain  with  their  buoyancy,  their  grace,  their 
freshness,  impaired  beyond  all  remedy.  As  such  children  they  grieve  with- 
out sorrows  and  are  weary  without  labors.  Time  for  them  is  but  a  yesterday 
or  a  to-morrow,  felicity  only  a  reminiscence  or  a  hope.  .  .  . 

And  as  it  is  with  the  individual,  so  over  every  abstract  relationship  of  man 
there  broods  a  like  cloud  of  melancholy.  Burne-Jones's  interpretation  of  man's 
attitude  might  best  be  defined  in  the  old  paraphrase  of  Tasso's  verse:  "He 
desires  much,  hopes  little,  demands  nothing."  All  these  factors  bring  before  us, 
with  a  recurrence  we  can  scarcely  suppose  unintentional,  one  persistent  idea. 
They  enforce  upon  us  a  sense  of  questioning  without  solution;  of  endeavor 
rather  than  achievement;  of  aspiration  rather  than  of  fulfilment;  of  desire 
rather  than  of  fruition.  It  is  life  portrayed  as  life  expectant,  joy  held  forever 
in  suspense,  pleasure  as  a  promise  whose  performance  hangs  in  the  precari- 
ous balance  of  untoward  chance.  Moreover,  anticipation  rarely — one  might 
almost  say  never — is  allowed  to  assume  the  mask  of  hope. 

Nor  is  that  all.  Even  when  the  image  represented  is  that  of  a  final  climax 
we  are  but  rarely  led  to  believe  that  we  are  in  very  deed  witnesses  of  the 
end  of  the  story.  An  impalpable  suggestion  of  purposes  unconsummated 
pursues  us,  although  we  are  face  to  face  with  what  purports  to  be  the  close 
of  the  catastrophe.  The  prince  has  entered  the  wood,  but  Briar  Rose  still 
sleeps.  In  all  things  there  is  the  same  lack  of  finality,  the  same  confession 
of  incompleteness,  albeit  it  is,  without  doubt,  an  incompleteness  containing 
in  itself  the  only  hint  mortality  can  give  of  the  compass  of  the  infinite. 

There  are,  it  may  be,  natures  to  whom  causeless  dejection,  the  "grief 
without  a  pang,"  is  a  mood  unknown.  There  are  others  whose  intrepid 
courage  does  battle  with  despondency  and  masks  its  own  defeats.  Others, 
again,  accept  it  with  passive  fortitude  or  apathetic  discontent;  it  is  to  them 
like  sleep  or  pain  or  movement, —  mere  condition  of  life;  or,  it  may  be,  life's 
supplement.  This  last  is  eminently  the  tone  of  thought  expressed  in  these 
pictures.  It  is  the  gentle  fatalism  of  the  French  playwright  avowing  that  all 
must  weep,  with  this  much  of  free-will  alone  allowed,  that  we  may  choose 
our  tears.  Burne-Jones  has  left  to  others  the  delineation  of  the  strength 
which  combats  sorrow,  which  depicts  life  as  an  ascension  — the  ascension 
of  the  rocks.  To  others  likewise  has  he  left  the  embodiment  of  the  soldier 


28 


01  a  0  t  e  t  ^   in  ^rt 


spirit  of  the  world.  The  chivalrous  or  devout  hardihood  of  the  very  mediae- 
val romances  he  has  so  frequently  dwelt  upon  fails  in  expression  throughout 
his  works,  and  everywhere  we  lack  the  seal  of  those  corresponding  spiritual 
valors  which  dominate  griefs  and  hold  sadness  at  bay. 

Yet  to  each  his  own  mission;  and  few  of  us  would  be  bold  to  say  that 
Burne-Jones  has  chosen  his  special  vocation  amiss.  The  sordid  miseries,  the 
mire-besprinkled,  inglorious  woes  of  the  streets  of  great  cities,  the  evil  unlove- 
liness  of  grotesque  deformities,  the  dreary  declensions  of  civilized  human 
nature, — repulsive  images  which,  if  we  hold  them  for  true  art  or  false,  equally 
sicken  and  repel, — these  have  found  no  place  upon  his  canvases.  He  is 
resolute  so  far  as  it  lies  with  him,  so  far  as  his  hand  may  fashion  its  images, 
that  the  world  shall  be  invariably  fair  to  look  upon.  If  it  has  not  been  the 
heroic  qualities  of  life  he  has  seen  well  to  exemplify,  he  has  drawn  with  a 
supreme  genius  its  gentleness,  its  compassions,  its  grace  and  courtesies,  its 
tenderness,  and  its  reverence. 

Thus  it  is  that  the  study  of  Sir  Edward  Burne-Jones's  paintings,  howso- 
ever the  theme  be  varied,  leads  us  back  perpetually  to  the  same  note,  to  the 
same  quality  of  imagination,  to  the  same  emotional  phase  of  thought  and 
feeling.  Over  life,  over  love,  over  earth  itself,  over  the  aspirations,  the 
quests,  the  relationships  of  humanity,  over  the  emblematic  injages  of  man's 
faiths  and  hopes,  the  same  mournful  spirit  incessantly  broods,  overshadow- 
irrg  all  things.  And  in  this  accentuation  of  sadness  lies  a  necessary  limita- 
tion to  the  compass  of  his  art.  Yet  if  this  limitation  is  his  loss,  it  is  also  his 
gain.  In  the  very  monotony  of  this  emotional  atmosphere  we  decipher  an 
evidence  of  its  sincerity;  and,  indisputably,  if  few  great  artists  have  wan- 
dered farther,  both  in  intention  and  fact,  from  the  presentation  of  the  truth 
of  the  broad  and  multitudinous  actualities  of  the  world  around  them,  few 
have  diverged  less  from  the  representation  of  truth  to  their  own  individual 
imaginative  vision. 

JULIA   CARTWRIGHT  'LIFE   AND   WORK   OF   SIR   EDWARD  BURNE-JONES' 

IN  an  age  when  the  scientific  spirit  has  penetrated  into  every  department 
of  life,  when  skilful  execution  and  experimental  research  supply  the  lack 
of  ideas  and  atone  for  poverty  of  invention  among  our  painters,  Burne-Jones, 
almost  alone  among  his  peers,  has  revealed  an  imaginative  faculty  of  the  rarest 
description.  In  a  period  which  is  essentially  prosaic,  when  realism  has  in- 
vaded both  art  and  fiction,  and  material  prosperity  seems  to  be  the  aim  and 
end  of  all  endeavor,  he  has  remained  a  poet  and  an  idealist.  In  days  when  rev- 
erence has  died  out  and  no  mystery  is  held  sacred,  the  sense  of  wonder  (that 
sense  for  which  a  recent  writer  tells  us  no  word  has  yet  been  found  in  the 
French  language)  is  never  absent  from  his  creations.  Again,  his  methods  of 
painting  are  as  far  removed  from  those  in  fashion  at  the  present  time  as  his 
conceptions.  He  was  not  content  to  produce  an  effect  by  tricks  of  light  and 
shade  or  the  clever  arrangement  of  dots  and  patches  of  color,  but  sought  with 
strenuous  endeavor  to  attain  beauty  of  line  and  grace  of  form  in  every  can- 


29 


vas  that  he  painted.  His  pictures  were  no  hasty  impressions  thrown  off  in 
the  course  of  a  few  hours.  They  were  carefully  thought-out  works  which 
cost  him  weeks  and  months  of  incessant  labor,  for  which  innumerable  stud- 
ies were  made,  and  which  were  allowed  to  remain  in  his  studio  for  ten,  fifteen, 
and  even  twenty  years.  As  far  as  possible  he  stood  apart  from  the  rush  and 
hurry  of  modern  life,  and  still  believed,  in  the  words  of  his  friend  Browning, 
that  "work  done  least  rapidly  art  most  cherishes." 

His  subjects  are  never  taken  from  modern  life.  The  actual  had  no  attrac- 
tions for  him.  The  life  of  the  day,  which  appeals  so  powerfully  to  some  of 
us,  had  nothing  to  say  to  him.  From  the  dullness  and  ugliness  of  the  present 
he  turned  with  all  the  passionate  ardor  of  his  being  to  the  forgotten  past,  and 
there,  in  the  myths  and  fairy-tales  of  the  Old  World,  he  found  the  food  after 
which  his  soul  hungered.  There  his  love  of  beauty  was  satisfied,  his  imag- 
ination found  itself  at  home.  His  fancy  ranged  freely  over  the  whole  realm 
of  romance.  His  ideas  clothed  themselves  naturally  in  classic  or  chivalric 
garb. 

A  deep  inborn  sympathy  naturally  drew  him  to  the  old  masters.  The  primi- 
tive altar-pieces  of  Byzantine  painters  and  the  more  learned  art  of  Mantegna 
or  Leonardo,  the  tender  charm  of  Renaissance  sculptors,  and  the  quaint  fan- 
cies of  Florentine  engravers  were  alike  eloquent  for  him.  He  caught  won- 
drous secrets  of  color  from  the  mosaics  of  Ravenna,  and  realized  the  mys- 
terious charm  of  Botticelli's  Virgins.  From  the  first  he  felt  instinctively  the 
close  community  of  thought  and  spirit  which  bound  him  to  these  old  masters, 
and  recognized  in  them  his  own  kith  and  kin.  But  to  imagine,  as  some  have 
done,  that  he  tried  to  revive  the  art  of  the  past,  or  to  imitate  the  work  of 
either  Tuscan  or  Venetian  painter,  is  a  complete  mistake.  There  is  no  afFec- 
tation  of  this  kind  in  the  work  of  our  nineteenth-century  master.  His  art  is 
as  original  as  it  is  profound.  He  was  enamored  of  beauty  in  all  its  forms, 
and  his  eyes  drank  in  loveliness  from  a  thousand  different  sources.  And  with 
that  marvellous  power  of  assimilation  which  belongs  to  genius,  he  absorbed 
all  these  separate  elements  into  his  being,  and  created  a  new  world  that  was 
all  of  his  own  invention. 

To  clothe  the  visions  of  his  brain  in  the  fairest  of  shapes,  and  present  his 
dreams  to  the  world  in  a  perfect  and  enduring  form,  was  the  aim  of  Burne- 
Jones's  life.  .  .  .  He  never  tried  to  point  a  moral  or  to  teach  a  lesson;  but 
he  rescued  beauty  from  the  forgetfulness  to  which  it  seemed  doomed  in  a  rest- 
less and  material  age,  and  in  so  doing  has  given  us  an  example  of  the  high- 
est value.  His  whole  life  was  one  long  search  after  loveliness,  one  long  en- 
deavor to  lay  hold  of  the  fairest  and  the  best.  In  this  quest  he  never  faltered. 
The  appeal  which  he  addressed  to  the  children  of  his  generation  has  been 
the  appeal  of  art,  and  he  will  not  have  lived  in  vain  if  he  has  spoken  to  the 
hearts  of  men  through  beauty,  "which  is  the  other  side  of  truth." 


30 


•SIR    EDWARD   BURNE-JONES'  THE   SPECTATOR:  1898 

THE  works  of  Burne-Jones,  considered  from  the  technical  point  of  view, 
raise  many  interesting  questions.  First,  let  us  take  composition.  This 
may  be  of  two  kinds.  Either  a  picture  may  be  made  up  of  a  variety  of  fig- 
ures and  other  objects,  which,  hke  a  mosaic,  are  cunningly  pieced  together, 
or  else  the  parts  may  be  brought  into  such  intimate  relation  that  the  whole 
appears  to  be  the  result  of  a  single  act  of  creation.  To  the  former  class  be- 
longs the  work  of  the  painter  now  under  study.  His  pictures  are  pieced  to- 
gether with  the  greatest  skill,  but  they  are  always  a  mosaic.  It  is  impossible 
not  to  feel  that  the  given  parts  might  have  been  rearranged,  and  still  have 
produced  a  satisfactory  result.  The  pattern  of  the  picture  is  put  together 
with  enormous  skill,  but  it  has  not  the  quality  of  inevitableness  possessed  by 
the  other  class  of  composition  alluded  to. 

As  with  composition,  so  it  is  with  color.  The  eye  travels  over  his  can- 
vases delighted  by  exquisite  patches  of  color.  The  effect  aimed  at  seems 
to  be  that  of  a  casket  of  jewels.  There  is  a  way  of  producing  a  gorgeous 
harmony  by  subtly  balancing  colors,  no  one  much  stronger  than  the  other, 
till  the  whole  picture  glows,  while  no  portion  insists  on  itself.  This  style 
was  practised  by  the  great  colorists  of  Venice,  such  as  Veronese  and  Titian. 
The  chromatic  impression  made  by  their  best  works  is  not  of  a  splendid  piece 
of  blue,  red,  or  orange,  but  of  a  general  glow  of  color  pervading  the  picture. 
This  was  not  the  case  with  Burne-Jones.  When  he  was  in  the  humor  for 
splendid  color  he  applied  it  to  his  pictures  in  harmonious  but  isolated  patches. 
When  gorgeousness  was  not  a  part  of  his  idea  his  sober  tones  became  almost 
a  monochrome. 

In  form  lay  this  painter's  greatest  originality;  he  may  be  said  to  have  in- 
vented a  type  of  feminine  beauty.  The  peculiarity  of  this  type  was  the  neg- 
ative sadness  of  the  faces.  For  some  reason  he  seldom  allowed  his  men  and 
women  to  betray  any  definite  emotion — a  veil  seems  drawn  between  us  and 
the  people  of  his  pictures.  They  hardly  ever  seem  actuated  by  an  overmas- 
tering and  definite  impulse  which  may  be  read  in  their  faces.  A  mask  keeps 
the  soul  from  looking  out.  That  this  was  intentional  is  proved  by  the  two 
pictures  which  contain  facial  expression  rendered  with  supreme  power. 
There  is  no  question  as  to  the  emotion  of  the  mermaid  in  'The  Depths  of 
the  Sea,'  or  of  that  of  the  royal  lover  in  'King  Cophetua.'  These  two  pic- 
tures show  that  Burne-Jones  cast  aside  facial  expression  for  some  reason  of 
his  own,  and  not  because  it  was  foreign  to  his  powers. 

Some  draughtsmen  realize  a  figure  as  a  whole;  view  its  weight,  balance, 
and  movement,  its  contour  and  modelling,  as  it  were,  simultaneously.  Others 
realize  the  figure  bit  by  bit,  as  it  were, — build  up  detail  upon  detail  till  the 
whole  is  put  together.  Each  system  has  its  merits  and  drawbacks.  The  dan- 
ger of  the  former  plan  is  that  figures  done  by  it  may  be  too  formal  in  their 
suppression  of  detail.  The  danger  of  the  other  system  is  that  the  general  im- 
pression is  forgotten  in  the  multiplicity  of  parts.  For  this  defect  there  is  no 
cure  unless  the  artist  be  possessed  of  a  very  strong  sense  of  construction.  It 
is  in  this  direction  that  Burne-Jones's  figures  are  most  open  to  criticism. 


31 


Conscientious  to  the  last  degree,  as  may  be  seen  by  the  beautiful  drawings 
he  made  for  his  pictures,  irreproachable  in  all  their  parts,  too  often  his  figures 
fail  to  satisfy  the  eye  trained  to  look  for  coherent  structure.  No  wealth  in 
the  invention  of  details — and  extraordinary  inventive  powers  this  artist  had 
— can  ever  hide  faults  of  construction. 

ROBERT   DE   LA   SIZERANNE  'ENGLISH   CONTEMPORARY  ART' 

BURNE-JONES'S  art  grew  up  from  the  seed  sown  by  Madox  Brown, 
on  the  stem  cultivated  by  Rossetti;  but  when  he  returned  to  London 
from  his  first  visit  to  Italy  he  discarded  all  imitations  and  former  limitations, 
and  definitely  fixed  his  own  style.  Henceforward  he  drew  his  inspiration 
plainly  from  Botticelli  and  Mantegna.  From  Botticelli  he  took  his  type  of 
female  beauty;  from  Mantegna  he  copied  his  elegant  types  of  knights  in 
armor;  he  went  boldly  to  the  Florentines  for  the  secret  of  their  grace  of  body. 
He  takes  their  faces,  and  into  these  renascent,  vigorous,  almost  classical  faces 
this  Northerner  breathes  the  fatalistic,  melancholy,  pessimistic  spirit  of  Byron. 
He  entombs  these  Italians,  made  for  merriment,  and  changes  them  into  the 
gloomy  companions  of  Merlin.  His  figures  have  the  muscles  of  the  Re- 
nascents  and  the  gestures  of  the  Primitives. 

His  knights  advance  with  a  pretty  motion,  but  as  stiffly  as  if  they  were 
walking  on  sword-points,  and  in  fear  of  being  contaminated  by  all  the  sur- 
rounding objects.  They  are  weary  of  their  strength,  embarrassed  by  their 
height,  and  almost  ashamed  of  their  good  looks.  They  are  built  up  like  pil- 
lars, and  they  sway  like  reeds.  They  might  be  shy  young  gods  entering  the 
world  for  the  first  time.  Their  limbs  are  not  braced  for  an  effort;  their  ges- 
tures are  neither  rapid  nor  violent.  If  they  stretch  themselves,  it  is  wearily; 
if  they  kill  a  monster,  it  is  with  regret. 

This  impression  of  intense  languor  and  graceful  stiffness,  of  complicated, 
rather  pessimistic  psychology,  Burne-Jones  produced  by  means  of  the  many 
systematic  deviations  from  nature  to  which  he  subjects  his  figures.  In  the  first 
place,  he  makes  them  eight  and  a  half  heads  high,  sometimes  more,  and  to 
suit  them  he  makes  his  palace-doors  of  extraordinary  height  for  their  breadth. 
Having  made  his  figure  very  long,  he  still  more  exaggerates  this  effect  by 
raising  the  hips;  but,  as  he  wishes  to  preserve  all  the  suppleness  of  the  bust, 
instead  of  making  the  hips  project  most  above,  he  rounds  and  lowers  their 
spring.  In  the  same  way  he  exaggerates  the  hips  in  proportion  to  the  shoul- 
ders in  his  female  figures,  and  diminishes  them  in  his  male  figures. 

Once  his  figure  is  blocked  in,  he  generally  throws  the  weight  of  the  body 
on  to  one  leg.  This  stiffened  leg  arches  inwards,  the  whole  of  one  side  of 
the  body  leans  upon  it,  the  hip  projects  and  tends  upwards,  the  shoulder 
drops;  but  the  other  side  of  the  body  is  supple  and  sinuous,  the  shoulder 
rises,  the  extended  leg  bends,  and  the  knee  is  brought  a  little  forward,  send- 
ing the  foot  back.  Thus  designed,  Burne-Jones's  figures  always  look  as  if 
they  were  coming  down  stairs,  excepting  his  angels,  which  look  as  if  they 
had  been  hung  with  their  feet  so-me  inches  above  the  earth,  and  their  bodies 
elongated  towards  it. 


32 


In  spite  of  all  the  charm  of  detail,  it  cannot  be  ignored  that  Burne- Jones 
obtains  the  infinite  grace  of  his  figures  only  by  sacrificing  the  great  features 
of  proportion  and  natural  attitude.  And  the  world  in  general  must  instinct- 
ively appreciate  this,  since  the  pictures  which  are  considered  his  master- 
pieces ('King  Cophetua,' 'Le  Chant  d' Amour,'  'Love  among  the  Ruins,' 
for  examples)  are  precisely  those  in  which  there  is  not  a  single  figure  standing 
upright. 

There  is  little  or  no  perspective.  In  'The  Golden  Stairs'  the  figures  at 
the  base  of  this  extraordinary  ladder  are  hardly  larger  than  those  on  the 
uppermost  steps.  In  'Love  among  the  Ruins'  the  parallel  lines  of  the  porch 
diverge  as  they  recede,  instead  of  converging.  In  'The  Annunciation'  the 
angel  Gabriel  is  so  much  larger  than  the  Virgin  that  the  picture  seems  in- 
tended to  be  looked  at  upside  down;  but  the  direction  of  the  receding  lines 
of  the  portico  plainly  shows  that  the  horizon  line  passes  across  the  Virgin's 
eyes,  and  therefore  that  the  foreground  is  below  and  not  at  the  top  of  the 
picture. 

His  coloring,  too,  is  chimerical,  inasmuch  as  he  gives  small  heed  to  the 
values  of  tone.  His  is  the  brilliancy  of  polished  glass,  the  dull  glow  of  shin- 
ing bronze,  the  dead  sheen  of  dark  mirrors.  But  this  color  becomes  some- 
times harmonious,  although  it  is  so  bright.  Nothing  is  softer  than  the  reflec- 
tion of  a  rose  in  a  cuirass,  of  a  bare  foot  on  a  marble  pavement,  of  drapery 
on  a  background  of  metal.  Nothing  is  more  restful  than  this  look  of  old 
stained  glass.  Unfortunately,  the  workmanship  is  as  labored  as  the  effect  is 
harmonious.   There  is  no  relaxation,  no  freedom  of  the  brush.  .  .  . 

Burne-Jones's  figures,  if  they  are  inaccurately  drawn  and  heavily  colored, 
are,  on  the  other  hand,  admirably  arranged.  In  composition,  if  that  be 
restricted  to  the  adjustment  of  lines,  and  to  the  order  and  motion  of  the 
outlines,  there  is  perhaps  no  master  of  the  present  day  who  can  equal 
him.  Not  that  he  knows  how  to  arrange  large  groups  of  figures;  in  'The 
Mirror  of  Venus'  the  interest  is  too  much  divided  to  be  telling.  Even  'The 
Golden  Stairs'  contains  many  figures  which  are  but  repetitions,  and  which 
could  be  withdrawn  without  any  loss  to  the  whole.  But  his  smaller  groups 
and  isolated  figures  are  marvels  of  composition.  —  from  the  French  by 

H.  M.  POYNTER. 

R.    D£   LA   SIZERANNE  MAGAZINE   OF   ART:  1898 

BURNE-JONES  seems  to  have  been  born  in  the  fifteenth  century.  All 
these  years  he  has  slept  in  the  depths  of  some  enchanted  palace,  pre- 
serving through  his  slumbers  all  the  exquisite  and  primitive  refinement  of  the 
Tuscan  painters.  His  repose  there  sheltered  him  from  the  changes  of  fash- 
ion, which  are  the  wrinkles  of  age  to  art,  as  revolutions  leave  wrinkles  on 
society,  and  years  leave  them  on  the  faces  of  princesses  who  do  not  sleep. 
He  was  sleeping  when  Poussin  painted  his  Romans,  when  David  resuscitated 
the  classic  world,  when  Reynolds  delivered  his  discourses.  And  then  he 
awoke  in  the  midst  of  a  world  older  by  three  centuries  than  himself.  That 
is  the  secret  of  his  originality,  his  bewitching  charm. 


C|)e  l^orfes  of  3Surne=3fone6 

DESCRIPTIONS    OF    THE  PLATES 
KING    COPHETUA   AND   THE   BEGGAR-MAID  NATIONAL   GALLERY,  LONDON 

THE  picture  of  'King  Cophetua  and  the  Beggar-maid'  was  finished  in 
1884,  and  exhibited  that  year  at  the  Grosvenor  Gallery,  London.  It  is 
in  some  respects  the  finest  and  most  complete  of  all  Burne-Jones's  works, 
and  in  the  Paris  Exposition  of  1889  occupied  the  place  of  honor  in  the 
English  Gallery.  It  has  recently  been  purchased  for  the  nation  by  the  Burne- 
Jones  Memorial  Fund,  and  now  hangs  in  the  National  Gallery,  pending  its 
removal  to  its  permanent  place  in  the  Tate  Gallery,  London. 

The  subject  of  the  picture  is  taken  from  an  old  story,  often  alluded  to  by 
English  writers,  of  which  the  earliest  known  version  is  in  the  form  of  a  bal- 
lad, relating  how  an  African  king  "who  had  to  name  Cophetua"  loved  and 
wooed  "a beggar  all  in  gray"  whom  he  made  his  queen.  In  describing  Burne- 
Jones's  painting,  Fernand  Khnopff  writes:  "Before  the  pallid  beggar-maid, 
still  shivering  in  her  little  gray  gown,  sits  the  king,  clad  in  brilliant  black 
armor,  who,  having  surrendered  to  her  his  throne  of  might,  has  taken  a  lower 
place  on  the  steps  of  the  dais.  He  holds  on  his  knees  a  finely  modelled 
crown  of  dark  metal  lighted  up  with  the  reds  of  rubies  and  coral,  and  his 
face,  in  clear-cut  profile,  is  raised  in  silent  contemplation.  The  scene  is  in- 
credibly sumptuous;  costly  stuffs  glisten  and  gleam,  luxurious  pillows  of 
purple  brocade  shine  in  front  of  the  chased  gold  panelling,  and  the  polished 
metal  reflects  the  beggar-maid's  exquisite  feet,  their  ivory  whiteness  enhanced 
by  contrast  with  the  scarlet  anemones  that  lie  here  and  there.  Two  choris- 
ter boys  perched  above  are  singing  softly,  and  in  the  distance,  between  the 
hanging  curtains,  is  seen  a  dream,  so  to  speak,  of  an  autumn  landscape,  its 
tender  sky  already  dusk.  In  this  exquisite  setting  the  two  figures  remain 
motionless,  isolated  in  their  absorbed  reverie." 

In  execution  this  work  shows  Burne-Jones  at  his  height.  The  elaborately 
wrought  armor  and  shield  of  the  king,  for  which  the  artist  had  models  ex- 
pressly made,  and  the  adornments  of  the  throne  overlaid  with  plates  of 
beaten  gold,  are  examples  of  his  marvellous  technical  skill  and  truly  medie- 
val fondness  for  exquisite  finish.  "I  love  to  treat  my  pictures,"  he  used  to 
say,  "as  a  goldsmith  does  his  jewels.  I  should  like  every  inch  of  surface  to 
be  so  fine  that  if  all  but  a  scrap  from  one  of  them  were  burned  or  lost,  the 
man  who  found  it  might  say:  'Whatever  this  may  have  represented,  it  is  a 
work  of  art,  beautiful  in  surface  and  quality  and  color.'  And  my  greatest 
reward  would  be  the  knowledge  that  after  ten  years'  possession  the  owner  of 
any  picture  of  mine,  who  had  looked  at  it  every  day,  had  found  in  it  some 
new  beauty  he  had  not  seen  before." 


34 


^a^ttt  0   in  ^rt 


PAN   AND   PSYCHE  OWNED   BY   MRS.    R.    H.  BENSON 

THE  subject  of  this  picture  is  an  incident  in  William  Morris's  poem 
<The  Story  of  Cupid  and  Psyche,'  in  which  it  is  related  that  Psyche, 
a  king's  daughter,  became  the  bride  of  Love,  but  losing  him  by  her  own 
fault,  wandered  through  the  world  compelled  to  sufFer  many  evils  at  the 
hands  of  Venus.  In  despair  she  attempted  to  end  her  sad  life  by  leaping  into 
a  stream, — 

"But  the  kind  river  even  yet  did  deem 
"That  she  should  live,  and,  with  all  gentle  care, 
"Cast  her  ashore  within  a  meadow  fair 
"Upon  the  other  side,  where  Shepherd  Pan 
"Sat  looking  down  upon  the  water  wan." 

This  is  the  moment  that  the  artist  has  chosen  to  represent.  "The  beauty, 
charm,  and  expressiveness  here,"  writes  Frederick  Wedmore,  "are  beauty, 
charm,  and  expressiveness  of  figure  as  well  as  of  face;  and  at  the  bottom  of 
the  invention  that  has  secured  these  there  must  have  been  that  sensitiveness 
of  observation  and  insight — a  thing,  after  all,  of  artistic  feeling  more  than  a 
thing  of  intellect  —  which  we  may  hold  to  be  among  the  most  peculiar,  and 
probably  the  most  precious,  of  Burne-Jones's  gifts.  It  is  not  so  much  keen- 
ness of  perception  as  fineness  of  feeling,  delicacy  of  imagination  —  a  poetic 
sense  that  refines  the  thing  it  works  upon." 

THE   DAYS   OF   CREATION  OWNED   BY   ALEXANDER   HENDERSON,  ESQ? 

THIS  work,  consisting  of  six  panels,  of  which  the  first  and  the  last  are 
given  in  our  reproductions,  was  originally  designed  for  a  church  window. 
In  the  six  compartments  are  depicted  six  angels,  symbolizing  the  six  days  of 
creation.  Each  angel  is  crowned  with  a  plume  of  fire,  and  in  the  hands  of 
each  is  a  crystal  globe  reflecting  an  act  of  creation,  from  the  ordering  of  chaos 
in  the  first,  where  a  light  globe  and  a  dark  globe  are  taking  definite  shapes 
amid  mysterious  light  and  darkness,  to  the  newly  created  man  and  woman 
in  the  sixth.  With  each  successive  angel  appear  those  who  have  presided 
over  the  acts  of  creation  of  the  preceding  days,  so  that  in  the  last  panel  all 
six  are  seen  together,  while  among  the  flowers  at  their  feet  is  seated  the  angel 
of  the  seventh  day,  chanting  the  praises  of  the  great  work  of  creation  to  the 
music  of  a  lyre.  The  manner  in  which  the  coloring  of  each  panel  is  carried 
out  so  as  to  assist  in  the  exposition  of  the  motive  is  both  delicate  and  ingen- 
ious. In  the  first  it  is  that  of  a  cold  gray-green  dawn,  and  in  each  successive 
compartment  the  note  is  skilfully  varied  and  enriched,  carrying  out  and  am- 
plifying the  harmony  appropriate  to  each  day. 

Kenyon  Cox  writes:  "  'The  Days  of  Creation'  shows  Burne-Jones,  per- 
haps, at  his  very  best.  The  mastery  of  composition  revealed  in  the  con- 
stantly varying  treatment  of  the  same  simple  motive,  the  gradual  crowding 
of  the  narrow  panel  as  figure  after  figure  is  added,  without  the  harmony  of 
line  or  mass  ever  being  disturbed,  the  curious  invention  of  plaited  fold  and 
woven  wings  that  make  his  angels  seem  like  strange  feathered  creatures  to 


35 


whom  flying  is  more  natural  than  wallcing, — all  this  is  wonderful  and  inim- 
itable. True,  the  graceful  hands  and  feet  are  unnaturally  long  and  slender 
and  somewhat  boneless;  true,  that  light  and  shade  are  absent,  and  the  fig- 
ures are  immersed  in  water  rather  than  in  air,  so  clear  and  unatmospheric  is 
the  effect;  true,  the  sentiment  is  somewhat  lackadaisical  and  sickly-sweet;  — 
true,  in  a  word,  that  this  is  art  of  a  highly  artificial  kind,  unrobust  and  sti- 
fling, and  that  one  feels  in  it  as  in  a  hothouse  filled  with  flowers,  and  longs 
for  a  breath  of  cooler  air;  but  it  is  art,  and  art  of  singular  power  and  perfec- 
tion within  its  limits,  and  its  qualities  are  precisely  those  lacking  in  the  nat- 
uralistic and  wholly  picturesque  art  of  to-day." 

LAUS    VENERIS  OWNED    BY   SIR    WILLIAM  AGNEW 

"TN  1878  was  exhibited  at  the  Grosvenor  Gallery  the  wonderful 'Laus 
X  Veneris,'  the  design  for  which  had  been  begun  seventeen  years  before," 
writes  Cosmo  Monkhouse.  "On  the  right,  a  pale  queen,  weary  of  loveless 
sovereignty,  sits  languidly  with  her  crown  on  her  knees,  her  rich  orange 
dress  relieved  against  a  greenish  tapestry  on  which  are  depicted  scenes  of 
romantic  love  ;  to  the  left  are  seated  four  beautiful  maidens  in  costumes  of 
bright  colors,  solacing  their  mistress  by  reciting  the  praises  of  love;  while 
through  the  window  are  seen  knights  in  armor  keenly  seeking  glimpses  of  the 
beauty  within.  Some  spectators  shook  their  heads  at  this  picture;  they  could 
not  understand  it,  they  saw  no  'moral'  in  it,  the  title  of  it  frightened  them, 
and  there  was  a  feeling  that  there  must  be  some  mysterious  wickedness  at 
the  bottom  of  it  all.  As  a  matter  of  fact,  nothing  could  be  more  innocently 
lovely.  The  picture  still  remains  almost  unique  among  Burne-Jones's  works; 
he  has  never  tried  to  rival  its  brilliant  patchwork  of  color.  In  'The  Days  of 
Creation'  the  colors  shift  and  play  into  one  another,  like  the  feathers  on  a 
dove's  neck;  in  'Le  Chant  d'Amour'  and  'King  Cophetua'  the  colors  are 
more  richly  blended  and  diffused,  in  the  manner  of  the  Venetians;  but  in  this 
picture  the  strong,  pure  spaces  of  color  in  dress  and  cap  stand  detached  as 
in  stained  glass,  or  in  the  earlier  pictures  of  the  Italian  school." 

THE  GOLDEN  STAIRS  OWNED   BY  LORD  BATTERSEA 

THIS  picture  was  designed  in  187  2,  actually  begun  in  1876,  and  finished 
in  1880.  It  was  originally  named  'The  King's  Wedding,'  then  'Music 
on  the  Stairs,'  and  finally  became  known  by  its  present  title.  A  study  in 
whites,  it  is,  says  Mr.  Monkhouse  "almost  as  sweet  and  delicate  in  color  as 
a  lily;"  but  the  composition  is  perhaps  overcrowded.  Though  it  cannot 
rank  among  his  greatest  achievements,  'The  Golden  Stairs'  is  probably  the 
most  widely  known  and  generally  popular  of  all  Burne-Jones's  pictures. 

LOVE   AMONG   THE    RUINS  OWNED   BY   MRS.    R.    H.  BENSON 

THE  original  picture  on  this  subject,  which  Burne-Jones  took,  with  its 
title,  from  Browning's  poem,  was  a  water-color,  first  exhibited  in  187  3. 
This  water-color  was,  however,  ruined  by  a  photographer  who  flooded  the 


36 


^  a  ^  t  ex  ^  in  ^rt 


surface  with  white-of-egg  that  the  tones  might  stand  out  more  brilliantly  in 
his  negative.  In  1893  the  painter  executed  a  replica  of  the  subject  in  oil. 
It  is  said  that  the  extreme  touch  of  tenderness  that  had  been  in  the  water- 
color  was  not  reached  in  the  second  picture;  but,  nevertheless,  it  is  rightly 
considered  as  one  of  Burne-Jones's  most  impressive  and  beautiful  works. 

The  two  lovers  sit  amid  the  ruins  of  a  fallen  city  which  nature  has  over- 
spread with  flowers  and  entwined  arches  of  rose-starred  briars.  The  maiden, 
clad  in  a  brilliant  robe  of  sapphire  blue,  clings  to  her  lover,  and  in  her  face 
is  written  the  evidence  of  those  haunting  thoughts  that  rise  in  the  presence 
of  the  desolate  remains  of  what  was  once  so  "great  and  gay  a  city," 

"  Where  a  multitude  of  men  breathed  joy  and  woe 
"  Long  ago  ;  ' ' 

while  the  vouth's  face,  though  it  echoes  her  emotion,  is  strong  with  the  poet's 
conviction  that,  after  all, 

■  "With  their  triumphs  and  their  glories  and  the  rest, 
"Love  is  best!" 

THE   prioress'    TALE  OWNED   BY  LADY  COLVILE 

THIS  subject,  from  his  favorite  Chaucer,  occupied  Burne-Jones  from 
almost  the  first  to  the  very  last  of  his  career.  As  early  as  1858  he  painted 
the  incident  on  the  panel  of  a  cabinet  for  his  friend  William  Morris,  and  the 
last  finished  work  which  left  his  easel,  in  1898,  was  this  picture  of  the  same 
design,  on  which  he  had  been  at  work  at  intervals  for  nearly  thirty  years. 

The  quaint  and  pathetic  story,  as  told  by  Chaucer's  Prioress  in  the  'Can- 
terbury Tales,'  relates  how  a  little  boy,  who  was  wont  "merily"  to  chant 
the  hymn  "O,  Alma  Redemptoris"  in  praise  of  the  Virgin  as  he  went  to  and 
from  school  each  day,  once  chanced  to  take  his  road  through  the  Jewish 
quarter  of  the  city.  The  Jews,  fancying  that  his  innocent  song  was  intended 
as  an  insult  to  their  faith,  waylaid  the  child,  slew  him,  and  cast  his  body  into 
a  pit.   But  lo,  from  the  pit  the  dead  child  again 

"  'O,  Alma  Redemptoris'  'gan  to  singe 
"  So  loude  that  al  the  place  'gan  to  ringe." 

The  Christians  of  the  city,  hearing  the  song,  discovered  the  little  body,  and 
bore  it  away  for  burial;  but  from  the  bier  the  child's  voice  was  again  raised 
in  the  hymn  of  praise.  Then  said  the  pious  abbot,  "Tell  me,  I  entreat  thee, 
dear  child,  why  thou  singest  thus,  for  to  my  seeming  thy  throat  is  cut." 
And  the  child  spoke,  and  answered  that,  as  he  was  dying,  the  Virgin  had 
appeared  to  him  and  laid  a  miraculous  grain  upon  his  tongue,  and  told  him 
that  so  long  as  the  grain  remained  there  he  would  be  enabled  to  sing  and 
speak;  but  that  when  it  should  be  removed  she  would  come  to  fetch  him, 
and  that  he  was  to  have  no  fear.  Thereupon  the  priest  removed  the  grain, 
and  the  little  child 

"Gaf  up  the  ghost  fill  softely." 


37 


The  painter  has  represented  the  moment  when  the  Virgin  is  placing  the 
grain  in  the  child's  mouth,  and  he  is  rising  to  receive  it.  In  the  background 
is  a  scene  in  the  town,  where,  after  the  naive  fashion  of  the  early  painters, 
Burne-Jones  has  represented  the  child  being  murdered  on  the  right,  and  the 
scholars  entering  school  on  the  left.  The  color  scheme  is  bright  with  blue, 
rose,  orange,  and  gray. 

THE   MIRROR    OF   VENUS  OWNED    EY   C.  SIDNEY  COLDMANN,ESQ^ 

OF  the  large  picture  'The  Mirror  of  Venus'  painted  in  1  87  3-7  7,  Julia 
Cartwright  says:  "It  is  one  of  those  dreams  of  pure  beauty  with  which 
the  painter  loves  to  delight  his  soul,  after  the  manner  of  the  old  Florentine 
and  Venetian  masters.  Venus  and  a  group  of  nine  maidens  are  seen  in 
a  green  valley,  'lovelier  than  all  the  valleys  of  Ionian  hills,'  under  a  blue 
sky,  kneeling  and  bending  in  different  attitudes  round  a  clear  pool  which 
reflects  their  flower-like  faces  and  rainbow-colored  robes  in  its  crystal  waters. 
Venus  herself,  the  tallest  and  the  fairest  of  the  group,  stands  erect  among 
her  maids,  in  an  azure  robe,  with  a  myrtle  bush  at  her  side,  and  behind  the 
rolling  uplands  frame  in  a  stretch  of  yellow  sands  and  of  blue  sea.  Every 
shadow  on  the  distant  hills,  each  petal  in  the  water-lilies  and  forget-me-nots 
of  the  pool,  is  painted  with  exquisite  delicacy.  It  is  a  picture  which  lifts  us 
for  a  little  while  out  of  this  workaday  world,  and  takes  us  back  to  Arcady." 

lechantd'amour  ownedbyt.  h.ismay,  esq" 

BURNE-JONES  painted  this  subject  twice.  The  first  picture,  a  water- 
color  (now  owned  in  the  United  States),  was  begun  in  1865,  and  dif- 
fers in  some  details  from  the  present  larger  oil-painting,  which  was  finished 
in  1877,  though  it  had  been  begun  some  years  earlier. 

"Although  it  contains  only  three  figures,"  writes  M.  De  la  Sizeranne, 
"'Le  Chant  d'Amour'  is  perhaps  Burne-Jones's  masterpiece  in  point  of 
composition.  A  girl  kneels  in  the  centre  of  a  flowery  lawn,  playing  on  one 
of  those  little  organs  such  as  are  played  by  angels  in  the  pictures  of  the 
Primitives.  A  knight  in  armor,  seated  on  the  ground,  is  listening.  On  the 
other  side  a  young  shepherd,  who  is  Love,  half  nude  and  crowned  with  leaves, 
is  gently  blowing  the  bellows  of  the  organ.  In  the  foreground  are  flowers; 
in  the  background,  a  group  of  houses  or  a  castle  court.  No  story,  nothing 
to  be  guessed,  but  everything  to  be  felt.  The  story  here  is  the  life  of  two 
hearts  and  a  little  air  stirred  by  the  waves  of  sound.  The  interest,  according 
to  Ruskin's  precept,  lies  in  the  life  of  these  beings,  not  in  what  is  going  to 
happen  to  them.  There  is  no  movement  except  that  of  Love  the  blower, — 
a  gentle  motion,  continuous  and  easy  as  in  a  dream.  From  whatever  point 
the  composition  is  regarded,  the  lines  attract  the  eye  to  the  centre,  to  the 


38 


01  a  $  t  c  t  0   in  9lrt 


face  of  the  musician,  to  her  parted  hps,  and  we  hsten  to  the  inaudible  melody 
of  the  Song  of  Love, 

'Triste  ou  gai,  tour  a  tour,' 

the  harmony  of  which  seems  to  pervade  all  the  forms  and  details  of  the 
vision." 

THE   ANNUNCIATION  OWNED   BY  THE   EARL   OF  CARLISLE 

I  ''HE  picture  on  which  Burne-Jones's  claims  as  a  worker  in  the  domain 
A  of  sacred  art  chiefly  rest,"  writes  Claude  Phillips,  "is  'The  Annuncia- 
tion.' It  is  a  large  upright  canvas,  showing  the  house  and  garden  of  Mary. 
She  is  seen  standing  near  a  well,  to  which  she  has  come  to  draw  water.  To 
her  appears  Gabriel,  the  angel  of  the  annunciation,  floating  effortless  in  the 
air  above  a  bay-tree  of  fine  conventionalized  design,  with  hands  uplifted  and 
long  draperies  of  sweeping  perpendicular  folds — suggesting  less  the  Floren- 
tines and  Mantegna  than  Byzantine  influences  and  the  strange  figures  seen 
In  the  porches  of  Chartres  and  Angers.  A  subtle,  penetrating,  unfamiliar 
charm  the  picture  unquestionably  has,  due,  it  may  be,  in  part  to  the  loving 
care  and  thoroughness  displayed  in  the  workmanship,  in  part  to  the  very 
strangeness  and  external  peculiarities  of  the  design." 

Sidney  Colvin  says:  "This  is  one  of  the  canvases  in  which  the  painter  has 
laid  aside  the  early  brilliancy  of  his  palette,  and  working  almost  in  mono- 
chrome, has  trusted  to  quality  of  color  rather  than  to  its  splendor  or  variety, 
and  not  to  color  at  all  so  much  as  to  design.  The  picture,  notwithstanding 
its  sober  tones,  must  rank,  I  think,  as  the  most  complete  which  the  artist 
has  produced.  His  peculiar  originality  and  fervor  of  imagination,  his  high 
sense  of  beauty  in  design,  and  his  untiring  elaboration  and  richness  of  work- 
manship are  nowhere  better  exemplified.  This  pale  and  slender  white-robed 
Virgin,  aware  with  awe  of  some  thrilling  visitation  descending  upon  her,  this 
beautiful  angel  dropping  quietly  down  beside  the  boughs,  with  folded  wings 
and  unparted  feet,  are  presences  which  no  one  who  has  once  looked  on  them 
can  ever  forget." 

A   CHRONOLOGICAL   LIST  OF   BURNE-JONES'S   PAINTINGS   IN   OIL  AND 

WATER-COLOR 

[In  compiling  this  list  the  dates  given  by  Mr.  Malcolm  Bell,  in  his  'Sir  Edward  Burne-Jones  ;  a 
Record  and  a  Review  '  (  London,  1899),  have  been  followed.  The  letter  </  following  the  name  of  a  picture 
denotes  that  it  is  in  oil ;  the  letter  tv,  that  it  is  in  water-color.  The  double  dates  indicate  the  years  of  be- 
ginning and  completion  of  a  subject.  ] 

1858,  Prioress'  Tale  (cabinet),  0 — 1859-61,  Annunciation,  iv  ;  Belle  et  Blonde  et  Col- 
oree,  iv  ;  Sidonia  von  Bork,  w  ;  Clara  von  Bork,  uu —  1861,  Summer  Snow,  iv  ;  Triptych, 
0  ;  Triptych  (altered  replica),  0  ;  Cupid's  Forge,  iv  ;  Blind  Love,  iv  ;  Clerk  Saunders,  <zv  ; 
King  Rene's  Honeymoon,  w  ;  Castle  of  Heavy  Sorrow  (unfinished),  iv  ;  Enchantments  of 
Nimue,  hju — 1861-62,  Viridis  of  Milan,  w  ;  Theseus  and  Ariadne,  iv  ;  Girl  and  Gold- 
fish, ^  ;  Chess-players,  iv  —  1861-78,  Laus  Veneris,  iv  —  1862,  Tristram  and  Yseult,  iv  ; 
Madness  of  Tristram,  iv  ;  Rosamond,  iv  ;  Eleanor  and  Rosamond,  iv  ;  Fatima,  iv  ;  Fatima 


39 


(small  replica),  nv  ;  If  Hope  Were  Not,  Heart  Would  Break,  iv — 1862-63,  Morgan 
le  Fay,  w —  1863,  Merciful  Kniglit,  uu  ;  Annunciation,  nv  ;  Nativity,  w  ;  Cinderella,  iv  ; 
St.  Valentine's  Day,  iv  ;  Triptych,  iv  ;  Green  Summer,  nv — 1863-69,  Wine  of  Circe,  nv 
— 1864,  Man  and  Maiden,  nu  ;  Maiden,  nju — 1865,  Astrologia,  nv  ;  Knight  and  Lady, 
nv  ;  Le  Chant  d' Amour,  iv  ;  Chaucer's  Dream,  nv  ;  Zephyrus  and  Psyche,  nv  ;  Cupid  and 
Psyche,  nv — 1865-66,  I'he  Lament,  nv  ;  St.  George  and  the  Dragon  (7),  0 — 1866,  St. 
Theophilus  and  the  Angel,  nv — 1867,  The  Garland  (unfinished),  nv  ;  Cupid  and  Psyche, 
nv —  I  867-77,  Mirror  of  Venus  (small),  0 —  i  868,  St.  Theophilus  and  the  Angel  (replica), 
nv  —  Green  Summer,  0 — 1868-77,  Le  Chant  d' Amour  (large),  0  (Plate  ]x) — 1868-84, 
Flora,  0 — 1869,  Hymen,  0  ;  Spring,  nv  ;  Autumn,  nv  ;  Annunciation,  nv — 1869-77, 
Hesperides,  nv — 1869-79,  Pygmalion  and  the  Image  (4),  0 — 1869-98,  Prioress'  Tale,  0 
(Plate  vii) — 1870,  Phyllis  and  Demophoon,  nv  ;  Vesper,  nv  ;  Night,  nv  ;  Beatrice,  nv  ; 
Love  Disguised  as  Reason,  nv  j  Charity,  nv  ;  The  King's  Wedding,  nv — 1870-73,  Love 
among  the  Ruins,  nv  ;  Hesperides,  nv — 1870-82,  The  Mill,  0 — 1870-83,  The  Hours,  0 

—  I  87 1,  Fortune,  nv  ;  Fame,  nv  ;  Oblivion,  nv  ;  Love,  nv  ;  Pygmalion  (The  Heart  De- 
sires), nv  ;  Summer,  nv  ;  Day,  nv  ;  Winter,  nv  ;  Night,  nv  ;  Girl  with  an  Organ,  nv  ;  Cir- 
cles of  Singing  Children  (2),  nv  ;  Venus  Epithalamia,  nv  ;  Dorigen,  nv  ;  Chaucer's  Dream 
(altered  copy),  nv  j  Sleeping  Beauty,  nv —  1871-72,  Cupid  and  Psyche  (replica),  0 —  1871- 
73,  Briar  Rose  (3  small),  0  —  1871-83,  Pygmalion  (4  small),  0 —  1872,  Fides,  nv  ;  Vesper 
(altered  C()[>y),  0  ;  Sleeping  Girls,  nv  ;  Man  Playing  Organ,  0  ;  Danae  and  the  Brazen 
Tower  (small),  0  —  1872-73,  Temperantia,  n; — 1872-74,  Pan  and  Psyche,  0  (Plate  11)  — 
1872-75,  Luna,  0 — 1872-76,  Days  of  Creation,  nv  (Plate  Iii)  ;  Pyramus  and  Thisbe,  nv 

—  1  872-77,  Spes,  nv  ;  Beguiling  ot  Merlin,  0 —  1  872-8  i.  The  Feast  of  Peleus,  0 —  i  872- 
85,  Fortune  (small),  0 — 1873,  Sibylla  Cumana,  if — i  873-77,  Mirror  of  Venus  (large),  0 
(Plate  Vlll);  Saint  George,  0—1873-78,  Laus  Veneris,  0  (Plate  iv) — 1873-88,  Bath  of 
Venus,  nv — '873-95,  Briar  Rose  (4th  of  the  series),  0  —  1874,  Sibyl,  0  ;  Annunciation,  0 

—  1875,  Hymenseus,  0  ;  Fortune  (small  replica),  nv —  1875-76,  Two  Girls  with  Viol  and 
Music,  0  ;  Hero,  0 — i?75-93,  Pilgrim  at  tiie  Gate  of  Idleness,  0 — 1875-95,  Wedding 
of  Psyche,  0 — 1876,  Danae,  0 — 1876-79,  Annunciation,  0  (Plate  x) — 1876-80,  Golden 
Stairs,  0  (Plate  v) —  1876-87,  Annunciation  (design),  nv —  1877,  Sibylla  Tiburtina,  nv  — 
"877-97,  Pilgrim  of  Love,  0 — 1877-83,  Wheel  of  Fortune  (large),  0 — 1879,  Portrait  of 
the  Misses  Graham,  0 — 1879-80,  Wood-nymph,  0 — 1880,  Portrait  of  Mr.  Graham,  0  ; 
Cupid's  Hunting-fields,  0;  Dies  Domini,  nv  ;  Sea-nymph,  0 — 1880-84,  King  Cophetua 
and  the  Beggar-maid,  0  (Plate  l) — 1881,  Portrait  of  Mr.  Benson,  0  ;  Portrait  of  Lady 
Frances  Balfour,  0  ;  Portrait  of  Miss  Gertrude  Lewis,  0  ;  Angels  (3),  0  ;  Angels  (3  larger 
replicas),  nv —  1881-82,  Tree  of  Forgiveness,  0 — -1882,  Earth,  0  ;  Perseus  and  the  Graiae 
(small),  0 —  1883,  Portrait  of  Philip  Comyns  Carr,  0  ;  King  Cophetua  and  the  Beggar-maid 
(cartoon),  nv  ;  Hope,  nv  ;  Girl  on  the  Downs,  nv — 1883-86,  Morning  of  the  Resurrec- 
tion, 0 — 1883-93,  Perseus  and  the  Grai«,  0 — 1884,  Portrait  of  Miss  Fitzgerald,  0  — 
1884-87,  The  Baleful  Head,  0 —  1884-88,  Rock  of  Doom,  0  ;  The  Doom's  Fulfilment, 

0  I  884-90,  Briar  Wood,  0  —  1885-86,  Portrait  of  the  Painter's  Daughter,  0  —  1885-90, 

Rose  Bower,  0 — 1886,  Depths  of  the  Sea,  0  ;  Flamma  Vestalis,  0 — 1886-87,  Garden  of 
Pan,  0  ;  Portrait  of  Miss  Norton,  0  ;  Portrait  of  Miss  K.  Lewis,  0 — 1886-93,  St.  George, 
0  —  1887,  The  Depths  of  the  Sea  (replica),  nv  ;  Angel,  0 — 1887-90,  The  Garden  Court, 
0 — 1888,  King  and  Shepherd,  0  —  Nativity,  0  ;  Danae  and  the  Brazen  Tower,  0  —  1888- 
90,  Council  Room,  0 —  1888-91,  Star  of  Bethlehem,  nv —  1889-93,  Heart  of  the  Rose,  0 

—  I  891,  Sponsa  di  Libano,  nv — 1893,  Portrait  of  Miss  Gaskell,  0;  Love  among  the 
Ruins,  0  (Plate  vi)  ;  Vespertina  Quies,  0  ;  Chapel  of  the  San  Graal,  nv — 1894,  Fall  of 
Lucifer,  0  ;  Portrait  of  Miss  Dorothy  Drew,  0 — 1896,  Aurora,  0  ;  Dream  of  Sir  Laun- 
celot,  0. 


40 


piaster  ^  in  3lrt 


l&nxm^Sont^  3Sit)Uograp|)j 

A    LIST    OF    THE    PRINCII'AL    BOOKS    AND    MAGAZINE    ARTICLES  DEALING 

WITH  BURNE-JONES 

BATE,  P.  H.  English  Pre-Raphaelite  Painters.  (London,  1899)  —  Bell,  M.  Burne- 
Jones.  (London,  1898)  —  Benedite,  L.  Gustave  Moreau  et  Burne-Jones.  (Paris, 
1899)  —  Berlin  Photographic  Company.  Work  of  Burne-Jones:  93  Photogravure 
Plates.  (London  and  New  York)  —  Carr,  J.C.  Examples  of  Contemporary  Art.  (London, 
1878)  —  Cartwright,  J.  Life  and  Work  of  Burne-Jones.  (London,  1894)  —  Ches- 
NEau,  E.  Artistes  anglais  contemporains.  (Paris  et  London,  1  883)  —  Child,  T.  Art  and 
Criticism.  (New  York,  1892)  —  Destree,  O.  G.  Les  Preraphaelites.  (Paris,  1897)  — 
Forsyth,  P.  T.  Religion  in  Recent  Art.  (Manchester  and  London,  1889)  —  Fred,  W. 
Die  Prae-Raphaeliten.  (Strasburg,  1900) — Monkhouse,  C.  British  Contemporary  Artists. 
(New  York,  1899)  —  Muther,  R.  History  of  Modern  Painting.  (New  York,  1896)  — 
Quilter,  H.  Sententias  Artis.  (London,  1886)  — Rose,  G.  B.  Contemporary  British 
Painting.  (Reprint  from  '  Sewanee  Review,'  1900)  —  Ruskin,  J.  The  Art  of  England. 
(London,  1883)  —  Sizeranne,  de  la,  R.  English  Contemporary  Art :  Trans,  by  H.  M. 
Poynter.  (New  York,  1898)  —  Temple,  A.  G.  Painting  in  the  Queen's  Reign.  (Lon- 
don, 1897)  —  Vallance,  a.  Decorative  Art  of  Burne-Jones.  (London,  1900)  —  Wed- 
more,  F.    Studies  in  English  Art.    (London,  1880). 

MAGAZINE  articles 

ACADEMY,  1898:  Burne-Jones  —  Art  Journal,  1893:  Burne-Jones  (J.  Cart- 
wright).  1893:  Bell  on  Burne-Jones  (J.  Cartwright).  1896:  'Sidonia'  (Mrs.  Ady). 
1896:  'Merlin  and  Nimue.'  1 898 :  In  Memoriam  (J.  Cartwright).  1889:  Rembrandt  and 
Burne-Jones  (R.  A.  M.  Stevenson)  —  AtheNjEum,  1  890 :  Legend  of  the  Briar  Rose.  1893 
and  1899:  Burne-Jones  at  the  New  Gallery.  1898:  Burne-Jones  —  Atlantic  Monthly, 
1898:  Burne-Jones  (W.  Sharpe)  —  Blackwood's  Magazine,  1893  :  Art  and  Influence  of 
Burne-Jones  (M.  R.  L.  Bryce)  —  Contemporary  Review,  1898:  Burne-Jones  (F.  M. 
Hueffer)  —  Cosmopolis,  1898:  Burne-Jones  (H.  Helferich)  —  Edinburgh  Review,  1899: 
Ethics  and  Art  of  Burne-Jones  —  English  Illustrated  Magazine,  1893:  Burne-Jones 
and  his  Art  (H.  Brooke)  —  Fortnightly  Review,  1898:  Burne-Jones  (W.  Sharpe) — 
Gazette  des  Beaux-Arts,  1900:  Burne-Jones  (J.  Cartwright).  1900:  Burne-Jones, 
decorateur  et  ornementiste  (P.  Leprieur)  —  Good  Words,  1899:  Burne-Jones  (W.  Bay- 
liss)  —  KuNST  FUR  Alle,  1898:  Burne-Jones  (G.  Gronau).  1898:  Zur  Legende  von 
dem  heiligen  Georg  (G.  Gronau)  —  Die  Kunst  unserer  Zeit,  1895:  Burne-Jones  (C. 
Gurlitt)  —  Literature,  1898:  Burne-Jones  —  Magazine  of  Art,  1885:  Burne-Jones 
(C.  Phillips).  1896:  Drawings  of  Burne-Jones  (A.  L.  Baldry).  1898:  In  Memoriam 
(R.  de  la  Sizeranne,  F.  Khnopff,  M.  H.  Spielmann).  1900:  Notes  on  Unfinished  Work 
of  Burne-Jones  (Sir  Philip  Burne-Jones) — -Nation,  i  892:  Work  of  Burne-Jones  (K.Cox). 
1892:  Exhibition  of  the  Works  of  Burne-Jones  (E.  R.  Pennell).  1898:  Edward  Burne- 
Jones  (E.  R.  Pennell).  1899:  Collected  Works  of  Burne-Jones  (E.  R.  Pennell)  — Die 
Nation,  1898:  Burne-Jones  (G.  J.  Sela)  —  Nineteenth  Century,  1899:  Recollections 
of  Burne-Jones  (J.Jacobs)  —  Outlook  (English),  1898:  Impressions  and  Memories  — 
Portfolio,  i  870 :  Burne-Jones  (S.  Colvin).  i  885  :  Burne-Jones  (F.  G.  Stephens).  1889: 
Burne-Jones  as  a  Decorator  (F.  G.  Stephens)  —  Quarterly  Review,  1898:  Burne-Jones 
—  Saturday  Review,  1893:  Burne-Jones.  1898:  In  Memoriam  (D.  S.  M.).  1899: 
Burne-Jones  (D.  S.  M.)  —  Scribner's  Monthly,  1872:  Visit  to  the  Home  of  Burne- 
Jones  (K.  Hillard)  —  Scribner's  Magazine,  1894.:  Burne-Jones  (C.  Monkhouse)  — 
Spectator,  I  893  :  Burne-Jones  (D.  S.  M.).  1898:  Burne-Jones  (H.  S.)  —  Studio,  1898: 
Studies  by  Burne-Jones.  1898:  The  Cupid  and  Psyche  Frieze.  1899:  Some  Features  of 
the  Art  of  Burne-Jones  (M.  Bell) — -Temple  Bar,  1877:  Recent  Paintings  by  Burne-Jones 
(F.  Wedmore)  —  University  Magazine,  1879:  Burne-Jones  —  Zeitschrift  fur  bil- 
DENDE  Kunst,  1895:  Burne-Jones  (Schl). 


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successful  method 
for  the  Study  of  Art  at  your  home,  or  in 
clubs,  devised  and  arranged  by  Mrs.  Adeliza 
Brainerd  Chaffee,  after  years  of  experience 
in  Lecturing,  Studv,  and  Foreign  Travel. 

Full  details  upon  application 

^Rare  and  Beautiful  Platinums  and  Carbons. 

^Reproductions  from  famous  Masterpieces 
and  Original  Views  in  Venice,  Rome,  and 
Florence  in  Water-color. 

^The  Raphel  Prints  in  Platinums,  five  sizes, 
3,000  subjects,  new  and  beautiful.  Order  by 
mail. 

I  Hancock  St.,  Worcester,  Mass. 


The  GREAT  PICTURE  LIGHT 

FRINK'S  PORTABLE 

PICTURE  REFLECTORS 

For  electric  liglit,  meet  all  requirements 
for  lighting-  pictures.  Every  owner  ot 
fine  paintings  could  use  one  or  moieof 
these  portable  reflectors  to  advanta^H. 
The  fact  that  so  many  have  orderid 
these  outfits  for  their  friends  is  proof 
that  their  merits  are  appreciated. 
Height,  closed,  51  inches;  extended,  81 
inches.  The  light  from  the  reflector  can 
be  directed  at  any  picture  in  the  room 
and  at  any  angle. 

Frink'sPortablePictureReflector 
with  Telescope  Standard 

No.  7034,  brass,  polished  or  antique, 
with  plug  and  socket  for  electric 

lamp  $27-50 

No.  7035,  black  iron,  with  plug  and 
socket  for  electric  lamp    .    .  $16.50 

These  special  Reflectors  are  used  by 
all  the  picture-dealers  in  New  York,  and 
by  private  collectors  not  only  in  this 
country,  but  in  Paris,  London,  Berlin, 
and  other  cities.  When  ordering,  kindly 
mention  the  system  of  electricity  used. 
Satisf.rction  guaranteed.  Parties  order- 
ing these  Reflectors  need  not  hesitate 
Nos.  7034,  7035  to  return  them  at  our  expense  if  not 
Pat.  Dec.  14,  '97  found  satisfactory. 

L  P.  FRINK.  551  Pearl  St.,  New  York  Cily 

GEO.  FRINK  SPENCER,  Manager 
Telephone,  860  Franklin 


a  partial  list  of  the  artists  to  be  considered  in  '  Masters  in  Art' 
during  the  forthcoming,  1904,  Volume  will  be  found  on  another 
page  of-  this  issue,  l^he  numbers  which  have  already  appeared 
in  1904  are  : 


Paht  49,  JANUARY 
Part  50,  FEBRUARY 
Part  SI,  MARCH  . 
Part  5Z,  APRIL 
Part  5j,  MAY 
Part  54,  JUNE 


FRA  BARTOLOMMEO 
GREUZE 
DURER'S  ENGRAVINGS 
LOTTO 
.  LANDSEER 
VERMEER  OF  DELFT 


PART    56,    THE    ISSUE  FOR 

augusit 


WILL  TREAT  OF 


C{)e  33ratl)ers  €pck 


NUMBERS  ISSUED  IN  PREVIOUS  VOLUMES 
OF  'MASTERS  IN  ART  " 


VOL.  1. 

Part  i.— VAN  DYCK 
Part  z.— TITIAN 
Part  j.— VELASQUEZ 
Part  4.— HOLBEIN 
Part  5.— BOTTICELLI 
Part  6.— REMBRANDT 
Part  7.— REYNOLDS 
Part  8.— MILLET 
Part  9.  — GIO.  BELLINI 
Part  10.— MURILLO 
Part  ii. — HALS 
Part  12.— RAPHAEL 


VOL.  2. 


Part  ij.- 
PAR-r  14.- 
Pakt  i;.- 
Part  16.- 
Part  17.- 
Part  18- 
Part  19.- 
Part  iC- 


-RUBENS 
-DA  VINCI 
-DURER 

-MICHELANGELO* 
-MICHELANGELOf 
CORO  T 

-BURNE-JONES 
-TER  BORCH 


Part  21— DELLA  ROBBIA 
Part  22.— DEL  SARTO 
Part  zj.— GAINSBOROUGH 
Part  24.— CORREGGIO 

t  Vainting 


VOL.  3. 

Part  25.— PHIDIAS  Part  51 

Part  26.  — PERUGINO  Part  J2 

Part  27.  — HOLBEIN  g  Part  jj 

Part  28.— TINTORETTO  Part  J4 
Part  29.  — PIETER  DE  HOOCH  Part  55 
Part  30.— NATTIER  Part  36 

\  Drawings 


PAUL  POTTER 

GIO  TTO 

PRAXITELES 
—HOGARTH 
—TURNER 

LUINI 


VOL.  4. 


Part  37, 
Part  38, 
Part  39, 
Part  40, 
Part  41 , 
Part  42, 
Part  43, 
Part  44, 
Part  4;, 
Part  46, 
Part  47, 
Part  48, 


JANUARY 

FEBRUARY 

MARCH 

APRIL 

MAY 

JUNE 

JULY 

AUGUST 

SEPTEMBER 

OCTOBER 

NOVEMBER 

DECEMBER 


ROMNEY 
.    FRA  ANGELICO 
.  WATTEAU 
RAPHAEL'S  FRESCOS 
DONATELLO 
GERARD  DOU 
CARPACCIO 
ROSA  BONHEUR 
GUIDO  RENl 
PUVIS  DE  CHAVANNES 
GIORGIONE 
ROSSETTI 


ail  tlje  abobe  nameti  i0mt^ 
are  coui^tantip  kept  in  ^tock 

PRICES  ON  AND  AFTER  JANUARY  I,  1904 

SINGLE  NUMBERS  OF  BACK  VOLUMES,  20  CENTS 
EACH.  SINGLE  NUMBERS  OF  THE  CURRENT  1904 
VOLUME,  1.5  CENTS  EACH.  BOUND  VOLUMES  1,2,3, 
AND  4,  CONTAINING  THE  PARTS  LISTED  ABOVE, 
BOUND  IN  BROWN  BUCKR  A  M,  W  ITH  GILT  STAMPS 
AND    GILT    TOP,  EACH;   IN    GT^EEN  HALF- 

MOROCCO,  GILT  SI  AMPS  AND  GILT  TOP.  $4.25 
EACH. 


Tn  answering  advertisements,  please  mention  Masters  in  Art 


MASTE  RS   IN  ART 


To  the  Builder  of  a  Country  House 


The  special  (  1 12-page)  number  of 

THE   ARCHITECTURAL  REVIEW 


Is  worth  many  times  its  cost.    It  will  help  to  solve  many  problems,  and 

suggest  many  useful  ideas. 


House  a  i  Glunkidck,  N.  J.;  Wilkinson  &  M agunk.i.k,  AKCHi  rtcTS,  New  Vokk. 


THIS  number  contains  the  best  work  of  about  fifty  leading  American 
architects,  and  is  illustrated  by  over  300  plans  and  photographs; 
more  than  75  small  and  large  houses.  Nothing  approaching  it  in 
value  and  helpfulness  for  country  house  building  has  ever  been  published, 
and  any  one  who  is  building,  remodeling,  or  furnishing  a  house  will  find  it 
a  mine  of  useful  information  and  suggestions. 

Price,  post-paid,  $2.00 
Illustrated  circular  and  full  information  on  request 

BATES         GUILD  CO.,  Publishers,  Boston,  Mass. 


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MASTERS  IN  ART 


^IL  5^^^  ANT  ONE 

INTERESTED 


FOR 
ART 


IN  ART 


or  Artistic  Shading,  may  do  well  to  write 
for  circulars  for  the  latest  and  the  best. 

Address  AIR  BRUSH  MFG.  CO. 
No.  42  Nassau  St.,  Rockford,  111.,  U.S.A. 


FOR  SERIOUS  ART  STUDY 

Every  club  and  every  stude\it  will  enjoy  learning  of  the 
most  recent  method  of  att  study  involving  the  use  of  small 

REPRODUCTIONS  AND  HANDBOOK 

covering  nearly  1500  Greek  and  Italian  subjects. 

Erlitors :  Edmund  von  Mach,  Ph.D..  late  of  Harvard  ; 
H.  H.  Powers,  Ph.D.,  late  of  Cornell ;  L.  M.  Powe,  late 
of  Wells. 

Send  for  prospectus  and  sample  copy. 

Art  Study  Department 
BUREAU  OF  UNIVERSITY  TRAVEL 
201  Clarendon  Street,  Boston 


SCHOOL  -  OF  THE 
MUSEUM  ♦  OF  •  FINE  •  ARTS 

BOSTON,  MASS. 


INSTRUCTORS 

E.  C.  TARBELL 
K.  W.  BENSON 
PHILIP  HALE 
B.  L.  PRATT 
E.  W.  EMERSON 
A.  K.  CROSS 


Drawing  and 
Painting. 


Modeling 
Anatomy 
Perspective 

DEPT.  OF  DESIGN 

C.  HOWARD  WALKER 
DIRECTOR 


SCHOLARSHIPS 

Paige  Foreign  Scholarship 
for  Men  and  Women. 

Helen  Hamblen  Scholarship. 

Ten  Free  Scholarships. 

Prizes  in  money  awarded  in 
each  department. 

Twenty-ninth  Year 

For  circulars  and  terms  address 
the  manager 


Miss  EMILY  DANFORTH  NORCROSS 


art  acanem^  of  Cincinnati 


SUMMER  TERM 


1904 


June  15  to  August  24 

Drawing  and  Painting  from  Life.  Compo- 
sition, Anatomy,  Modeling,  China  Painting, 
Design.  Located  in  Eden  Park  overlooking 
the  city,  with  opportunity  for  outdoor  work. 
The  Art  Museum  and  its  Library  are  open  free. 

J.  H.  GEST,  Director,  Cincinnati 
Fall  Term  opens  September  26 


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oston 

/^»Maine 

Railroad^ 


FOR  ALL  PUBUCATIONS  APPLY  TO 

PASSENGER  DEPARTMENT.  B.&M.R.R. 

BOSTON. MASS. 
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EL  AND  BOARDIN&  HOUSE  LIST,  {CII/TYZ'/ 
INFORMATION.  FREE. 

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under  f/ie^/Zowinp' AWes. 
anefmi7/J>e  /na/Zed 
upon  receipf  0/2^ /n  shmps 
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BOSTON  fjn  I.<  V  I  ----  -  T  S 


PIANOS 


HE  QUARTER- 
GRAND 

1:    :    ii  perfect  Grand  piano 
with  the  sweetness  and  quaJ- 
r  C  r  ncir — adapted  to  the 
\-t  average  room.  ^  It  occupies 
nre* space  than  an  Upright<«^ 
riian  the  large  Upright.  d» 
.  the  larger  Uprights,  m  It 
>f  famiture  than  an 
1)  (ived  through  stair- 
1         r:   r;    than   will  admit 


CHICKERING  ^  SONS 


r.,  BOSTON 


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